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This screen adaptation of the John Steinbeck classic novel is a harsh, fantastic film that took the wind out of me with its frank and brutal depiction of desperation and longing. Movies about the Depression that were actually made at the time of the Depression by people who knew of what they spoke by necessity feel so much more authentic than later movies that treat the Depression as a historical event. The men in this film are quite literally living day to day, and the comparison of men to dogs that serves as a running motif throughout the film feels like more than just a poetic device. Like dogs, these men were faced with the scary prospect of some day being of no more use, and there was no system in place to take care of them when that day came. Being shot like a dog put out of its misery by its owner really was preferable to the alternatives awaiting them.

I was surprised about how candid this film was, and how bravely it tackled some of the thornier issues of Steinbeck's novel. The incident between Lenny and Mae is divested of some of its sexual overtones, but much is implied anyway. And a scene between Crooks, a black work hand, and some of the other workers, in which Crooks explains in blunt language what it means to be black, tackles race relations as honestly as many films today.

Moments of this film are almost unbearably sad and poignant, but never in that over-sentimental way common to Hollywood films of this time period. Burgess Meredith is terrific in the role of George; he expertly conveys--without ever directly addressing it--the bond he has with Lenny and the degree to which Lenny is as much George's savior as he is Lenny's. Charles Bickford is also excellent as a rough and world-weary worker. The cast's weak links are Betty Field--hopelessly overplaying her bored sex kitten--and Lon Chaney as Lenny, though both are very good in the pivotal scene that sets off the action of the film's finale.

John Ford's adaptation of "The Grapes of Wrath" from the following year gets all of the attention today, and one hardly ever hears of "Of Mice and Men." But much of what is great about Ford's film is also great about Lewis Milestone's, and he deserves credit for laying a fine blueprint for brining Steinbeck's beautiful and heartbreaking stories to the screen.

Grade: A

This movie has power. Some of todays movies are great extravaganzas but they have no power. The flawless performance given by Lon Chaney Jr. has never been surpassed. John Stienbeck wrote the story and is one of my favorite authors.

In this movie "Of Mice and Men" you can not help but be drawn into the story and feel every feeling that each character brings to the story. There are no big heroes here just people in a time of great tribulation. The director Lewis Milestone is superb in his making of this movie and also produced it.

I have seen all the remakes and there are none to compare. If you enjoy good movies don't miss this one and bring a box of Kleenex.

It's amazing that a film as good as this one came from a small studio like Hal Roach. Sure, they released many of their films through MGM but they were tiny and specialized in short comedies with the likes of Laurel & Hardy, Charley Chase and The Little Rascals--but they were not known for dramas. Well, starting in the late 1930s, the studio tried their hand at such fare and in some cases did some lovely films--and "Of Mice and Men" is the best example of these new dramas.

As far as the story goes, it's much like the book and play---but with a few changes to meet the tough Production Code. The language was toned down--with swearing removed. Also, the film made a few minor changes in the play--but not many. What you see is essentially the Steinbeck story--and the studio trusted the source material enough to stick with it. They also should be applauded for picking two relative unknowns to star in the film--Burgess Meredith and Lon Chaney, Jr..

Overall, the film is a smashing success. The acting is very good, the direction also nice and the film kept me on the edge of my seat. The only negative, and it's very, very, very minor, is that a few of the scenes looked very much like they were filmed on a set. Still, it's one of the best films of the year and had it not come out in 1939 (the same year as "Gone With The Wind", "The Wizard of Oz", "Goodby Mr. Chips", "Mr. Smith Goes to Washington" and many other great films), it might have taken home some Oscars. Well worth seeing and a great example of a film made very well on a relatively small budget.

Steinbeck's classic story of 'my brother's keeper' brought to the silver screen in a reverent manner. Perhaps the biggest story in this film is the fact that Chaney jr. could REALLY act-he was undoubtedly cheated out of the Oscar for best actor. Merideth, best known to younger folks as Rocky's trainer does a fine job as the brains in this two man operation. Veteran cowboy star Bob Steele does a stand-out job as the heavy. The direction is steady and the script lifted literally from the novel(why improve perfection?) Remade several times, but never as effectively. Even if you've seen it 100 times, keep a hankie handy.

I don't think anybody who has read "Of Mice and Men" has ever forgotten it. John Steinbeck paints characters who are so rich, so sympathetic, so tragic. I went through a brief Steinbeck phase during my highschool years, and every single novel – "The Grapes of Wrath," "The Pearl," "The Winter of Out Discontent," "The Red Pony" - left me feeling emotionally gutted. His conclusions are tragic and sorrowful, and yet somehow necessary - the only possible conclusion.

I've seen Gary Sinise's 1992 film adaptation of "Of Mice and Men," and it's a very strong, faithful adaptation, but this one tops it, I think. Snappy, shrewd George is played by Burgess Meredith, and he has a wonderful rapport with Lennie (Lon Chaney, Jr.), a behemoth with more heart than brains.

The characterisations are poignant, and the dialogue strongly literary, often lifted straight from the pages of the source material. Steinbeck has a delicate way of giving his characters hope, and then sharply yanking it away for the conclusion. This goes against every rule of Hollywood storytelling (even John Ford's 'The Grapes of Wrath (1940)' compromised with a more optimistic ending), but here director Lewis Milestone sticks to the original story like it was gospel.